A room is a decision about how you want to be tired at the end of the day.

I live in forty-eight square metres in Tokyo with one good chair and far too many bowls, so I have had to mean that. I trained as an architect and left to write, which my teachers took badly. Uchi (内) means inside, and it means home: the room you come back to. The palette comes after the tiredness. So does the name on the lamp.

This is where I keep what the world's rooms are doing. Around seventy sources, read in Japanese, Korean, Chinese, Vietnamese, Italian, French and English: an apartment in Seoul, a house outside Taipei, a Copenhagen showroom seen from here rather than from Denmark. East first, because east is where I am sitting.

Each story is a headline, an excerpt of a few lines, one photograph and a link to whoever did the work. We never reprint the piece, and the photograph belongs to the person who took it. When a room was written up in Korean or Italian it stays in Korean or Italian here; the link takes you to the writer's own words.

I am not trying to be complete. I am trying to notice.

— Mio Tachibana, Tokyo

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Casa Iriarte / SOCO

October 8

在拉斯帕尔马斯（Las Palmas de Gran Canaria）的历史中心，这座住宅将狭窄场地的局限性转化为了空间创造的契机。一个偏心庭院为室内引入了光线与空气，并以此组织起周边空间，打破了传统的房间划分，营造出一个兼具经济性与愉悦感、两者相辅相成的开放式场景。场地的狭窄反而成为了设计的起点，塑造着整座住宅的布局、通风以及日常使用方式。

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